I
manipulate perceptions and form. Inspiration comes from
the organic world, which is never static. Having a science
background assists me in studying forms with a clinical
eye.

Sometimes the challenge I create for myself is to mimic
with precision organic matter as nature has constructed
it. Other times I distort to abstraction and yet another
time I will dissect form to reconstruct it in ways that
challenge our perceptions of mass. I like to explore
the ways planar forms can be juxtaposed to create the
visual illusion of a unified mass. Often I use vitreous
enamel and color to focus the eye on the positive space,
which highlights form against the negative space. My
forms elicit from viewers a desire to touch them, a
response which I feel is necessary to experience an
intimate interaction with objects.

Most recently, I’ve begun exploring the techniques
used in painting the Limoges and grisaille enamelwork.
My interpretations are found in my jewelry and the wall
work.

In summation my own skills and metal’s properties
are the boundaries I push against. Perceived wholeness
or mass is the variable I manipulate in my forms. The
possibilities are infinite. Beyond all other concepts
and precepts, my work is to be touched, to call forth
an emotional response and to strike a chord of connectedness
between us.